托福阅读：3大能力助力高分阅读

想在托福阅读中取得好的成绩，要先了解托福阅读考试机制。今天小编就给大家带来托福备考托福阅读：3大能力助力高分阅读,希望能够帮助到大家，下面小编就和大家分享，来欣赏一下吧。

托福阅读：3大能力助力高分阅读

一、信息定位能力

练习快速扫描，在文章或段落中定位并查找重要的事实和信息，包括主题信息、概念名称、日期、地点和数字等。经常反复地练习，可以提高阅读的速度和流利程度。

二、速读理解能力

1.在掌握语法知识(如：语句结构、代词等)以后，应采用各种手段，努力扩大词汇量，扫除阅读中存在的生字障碍。

2. 练习速读，训练通过快速浏览而非逐句细读发现文章主旨的能力。托福阅读考试的选材，从文体角度看，大多是说明体和议论体的正式书面语文章。其语篇模式一般为导言、主题、支撑、结论四部分，并且每一段落的开头常可发现主题句。

根据英语语篇的上述特点，阅读时注意文章的首尾段落以及每一段落的开始一、二句话，常有助于迅速发现所读内容的主旨。同时，注意语篇中一些具有语义提示作用的信息词和短语，对于重要信息的快速查找和定位也是有帮助的。

3.还可以根据托福考试的题型有针对性地进行一些练习，包括文章中出现的代词(he， they， that， these， it， one， others等)，找出它们所指代的名词;根据文章提供的信息，练习推理、预测和归纳结论的能力;选择阅读中遇到的生字，根据前后语句所提供的上下文线索猜测字义，例如：

Everyone faces times when one goal or another has to come first; deciding which goals are most important is setting priorities.(根据语句结构，划线单字的意义由is提示是指the most important goals)

A skyscraper， or building more than twenty stories high， is built on a foundation of concrete supported by piles driven into the ground.(句中or在这里表示“或者说”，提示划线单字的意义为building more than twenty stories high)

Unlike her gregarious sister， Jane is a shy， unsociable person who does not like to go to parties or to make new friends. (从Unlike所表示的对照关系，可以确定划线单字的意义正是shy， unsociable的反面，即sociable， friendly)

In spite of the fact that the beautiful egret is in danger of dying out completely， many clothing manufacturers still offer handsome prices for their long， elegant tail feathers， which are used as decorations on ladies’ hats.(从全句的意思，特别是描述其特征的feathers等词，可判断划线单字是指a type of bird)

三、研读整理能力

1.训练阅读除了需要培养理解文章含义和增强查找信息的能力外，还应适当注意所读材料的组织结构及写作手法，例如：该文章的组织方式可能是比较对照、分类、因果等，某个例子在阐述过程中有何作用。这有助于理解把握文章内涵和归纳概括内容提要。

2.练习概括提要，区分主要与次要内容。对于描述过程的文章，可练习按顺序总结步骤，写出提要。若文章涉及信息分类，可尝试制作图表并将相关内容分类排列。虽然新托福考试并不要求自己设计分类图表，但这项练习有助于加强信息整理的意识，可以帮助大家更快适应此类题型。

3.根据提要或图表对阅读内容进行口头或书面的总结概述，以配合口语和写作部分综合型考题的需要。

4.选取句子或段落练习释义解述(paraphrase)。一方面，阅读测试包含考查对解述语句的辨识能力;此外，在口语和写作部分的综合型考题中也需要运用此项技能，可以同时提升。

托福阅读背景知识汇总之爵士乐的根源

The roots of jazz

The folk songs and plantation dance music of black Americans contributed much to early jazz. These forms of music occurred throughout the Southern United States during the late 1800's.

Ragtime, a musical style that influenced early jazz, emerged from the St. Louis, Mo., area in the late 1890's. It quickly became the most popular music style in the United States. Ragtime was an energetic and syncopated variety of music, primarily for the piano, that emphasized formal composition.

The blues is a form of music that has always been an important part of jazz. The blues was especially widespread in the American South. Its mournful scale and simple repeated harmonies helped shape the character of jazz. Jazz instrumentalists have long exploited the blues as a vehicle for improvisation.

托福阅读背景知识汇总之Early jazz.

Fully developed jazz music probably originated in New Orleans at the beginning of the 1900's. New Orleans style jazz emerged from the city's own musical traditions of band music for black funeral processions and street parades. Today, this type of jazz is sometimes called classic jazz, traditional jazz, or Dixieland jazz. New Orleans was the musical home of the first notable players and composers of jazz, including contests Buddy Bolden and King Oliver, cornets and trumpeter Louis Armstrong, saxophonist and clarinetist Sidney Bechtel, and pianist Jelly Roll Morton.

Jazz soon spread from New Orleans to other parts of the country. Fate Marble led a New Orleans band that played on riverboats traveling up and down the Mississippi River. King Oliver migrated to Chicago, and Jelly Roll Morton performed throughout the United States. Five white musicians formed a band in New Orleans, played in Chicago, and traveled to New York City, calling them the Original Dixieland Jazz Band (the spelling was soon changed to "Jazz"). This group made the earliest jazz phonograph recordings in 1917. Mamie Smith recorded "Crazy Blues" in 1920, and recordings of ragtime, blues, and jazz of various kinds soon popularized the music to a large and eager public.

The 1920's

The 1920's have been called the golden age of jazz or the jazz age. Commercial radio stations, which first appeared in the 1920's, featured live performances by the growing number of jazz musicians. New Orleans; Memphis; St. Louis; Kansas City, Missouri; Chicago; Detroit; and New York City were all important centers of jazz.

A group of Midwest youths, many from Chicago's Austin High School, developed a type of improvisation and arrangement that became known as "Chicago style" jazz. These musicians included trumpeters Jimmy McFarland and Muggy Spinier; cornets Box Beiderbecke; clarinetists Frank Tastemaker, Pee Wee Russell, Mezzo, and Benny Goodman; saxophonists Frankie Rombauer and Bud Freeman; drummers Dave Tough, George Wetting, and Gene Krupp; and guitarist Eddie Condon. They played harmonically inventive music, and the technical ability of some of the players, especially Goodman, was at a higher level than that of many earlier performers.

In New York City, James P. Johnson popularized a new musical style from ragtime called stride piano. In stride piano, the left hand plays alternating single notes and chords that move up and down the scale while the right hand plays solo melodies, accompanying rhythms, and interesting choral passages. Johnson strongly influenced other jazz pianists, notably Count Basie, Duke Ellington, Art Tatum, Fats Waller, and Teddy Wilson.

Fletcher Henderson was the first major figure in big band jazz. In 1923, he became the first leader to organize a jazz band into sections of brass, reed, and rhythm instruments. His arranger, Don Redman, was the first to master the technique of scoring music for big bands. Various Henderson bands of the 1920's and 1930's included such great jazz instrumentalists as Louis Armstrong and saxophonists Benny Carter and Coleman Hawkins.

Armstrong made some of his most famous recordings with his own Hot Five and Hot Seven combos from 1925 to 1928. These recordings rank among the masterpieces of jazz, along with his duo recordings of the same period with pianist Earl "Fatah" Hines. Armstrong also became the first well-known male jazz singer, and popularized scat singing-that is, wordless syllables sung in an instrumental manner.

During the late 1920's and early 1930's, jazz advanced from relatively simple music played by performers who often could not read music to a more complex and sophisticated form. Among the musicians who brought about this change were saxophonists Benny Carter, Coleman Hawkins, and Johnny Hodges; the team of violinist Joe Venetia and guitarist Eddie Lang; and pianist Art Tatum. Many people consider Tatum the most inspired and technically gifted improviser in jazz history.

The swing era flourished from the mid-1930's to the mid-1940. In 1932, Duke Ellington recorded his composition "It Don't Mean a Thing If It Isn’t Got That Swing." "Swing" was soon adopted as the name of the newest style of jazz. Swing emphasizes four beats to the bar. Big bands dominated the swing era, especially those of Count Basie, Benny Goodman, and Duke Ellington.

Benny Goodman became known as the "King of Swing." Starting in 1934, Goodman's bands and combos brought swing to nationwide audiences through ballroom performances, recordings, and radio broadcasts. Goodman was the first white bandleader to feature black and white musicians playing together in public performances. In 1936, he introduced two great black soloists-pianist Teddy Wilson and vibraphonist Lionel Hampton. Until then, racial segregation had held back the progress of jazz and of black musicians in particular. In 1938, Goodman and his band, and several guest musicians, performed a famous concert at Carnegie Hall in New York City. Their performance was one of the first by jazz musicians in a concert hall setting.

Other major bands of the swing era included those led by Benny Carter, Bob Crosby, Jimmy Dorsey, Tommy Dorsey, Woody Herman, Earl Hines, Andy Kirk, Jimmie Lunsford, Glenn Miller, Artie Shaw, Chick Webb, and, toward the end of the period, Stan Kenton. The bands in Kansas City, Missouri, especially the Count Basie band, had a distinctive swing style. These bands relied on the 12-bar blues form and riff backgrounds, which consisted of repeated simple melodies. They depended less heavily on written arrangements, allowing more leeway for rhythmic drive and for extended solo improvisations.

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